<p class="ql-block">原創(chuàng): 倪捷兒 攝影：千喜</p> <p class="ql-block">Original content by Ni Jie’er. Photography by Qianxi.</p> <p class="ql-block">【美篇導(dǎo)語】：三百年時(shí)光那頭，李漁在芥子園壘石栽梅，將半生閑情寫進(jìn)《閑情偶寄》；三百年時(shí)光這頭，我們穿過高樓霓虹，推開那扇虛掩的月洞門——忽見秋光仍停在粉墻斑駁處，戲衣的柳色還沾著昨夜的露水。這不是一次簡單的懷舊，而是一場與美學(xué)的鄭重相逢。讓我們暫忘秒針的催促，循著石徑上淡去的青苔痕，走進(jìn)這座“芥子納須彌”的東方夢境，看古人如何把日子過成詩，又如何在這方寸園林中，安放我們至今仍在尋覓的，那份從容與豐盈。</p> <p class="ql-block">[Meipian Introduction]: At the end of three hundred years, Li Yu built stone structures and planted plum trees in Jiziyuan, weaving half a lifetime of leisure into “Reflections of Leisure”; at the beginning of three hundred more years, we pass through towering skyscrapers and neon lights, push open the half-open moon gate – and suddenly see that autumn still lingers at the spot where the pink walls are weathered. The willow garments still bear the dew from the previous night. This is not just a simple nostalgia; it’s a solemn encounter with aesthetics. Let us momentarily forget the urgency of the second hand’s ticking and follow the fading traces of moss on the stone path, entering this Eastern dream where “a mustard seed can contain a miniature universe.” See how the ancients lived their days like poetry and how they found tranquility and abundance within this small garden, which we are still seeking today.</p> <p class="ql-block">李漁，明末清初文壇奇士，集戲劇家、美學(xué)家、出版家于一身，堪稱中國史上難得的“通才妙人”。其美學(xué)思想以“人本、自然、尚儉”為核心，將高深義理化為可觸可感的“閑情美學(xué)”，精髓盡在“宜簡不宜繁，宜藏不宜露”。戲曲上，《笠翁十種曲》文采斐然；小說中，《無聲戲》《十二樓》等短篇集精巧機(jī)趣；生活美學(xué)領(lǐng)域，《閑情偶寄》堪稱“17世紀(jì)生活藝術(shù)全書”，盡顯生活智慧與審美旨趣。</p> <p class="ql-block">Li Yu, a remarkable figure in the literary world during the late Ming Dynasty and early Qing Dynasty, was a master of drama, aesthetics, and publishing. He can be described as a rare “all-around genius” in Chinese history. His aesthetic philosophy revolves around the core principles of “humanism, nature, and simplicity,” transforming profound philosophical concepts into tangible and relatable “idyllic aesthetics.” The essence of his ideas can be summarized as “simplicity is preferable to complexity, concealment is preferable to exposure.” In terms of drama, Li Yu’s “Ten Operas of Laogong” is renowned for its literary brilliance. In novels, collections like “Silent Play” and “The Twelve Floors” are characterized by their intricate and amusing content. In the realm of life aesthetics, “Idle Moments and Leisure Pursuits” is hailed as a comprehensive guide to the art of living in the 17th century, showcasing both practical wisdom and aesthetic sensibilities.</p> <p class="ql-block">芥子園是李漁美學(xué)思想的集大成者與實(shí)踐典范。南京芥子園建造于1677年，因其 “地止一丘，故名芥子” ，狀其小巧，設(shè)計(jì)精髓：在極有限的空間內(nèi)（“不及三畝”），通過 “尺幅窗”、“無心畫” 等巧思，實(shí)現(xiàn) “芥子納須彌” 的意境。一花一木、一窗一景都經(jīng)過精心設(shè)計(jì)，將“借景”、“藏露”、“簡雅”等理念發(fā)揮到極致。它不僅是居住之所，更是其會友、演劇、出版的文化沙龍。</p> <p class="ql-block">Ji Zi Yuan is the epitome of Li Yu’s aesthetic philosophy and a prime example of its practical application. Built in 1677 in Nanjing, Ji Zi Yuan is named after the phrase “Ji Zi represents a single mound of earth,” symbolizing its diminutive size. Its design essence lies in achieving the concept of “Ji Zi containing Mount Sumeru” within extremely limited space (“l(fā)ess than three mu”). Thoughtful elements such as “scaled windows” and “careless paintings” are employed to achieve this effect. Each flower, tree, window, and scene have been meticulously designed, fully embodying concepts like “borrowing scenery,” “concealment and revelation,” and “simplicity and elegance.” It serves not only as a place of residence but also as a cultural salon where one can socialize, perform plays, and publish works.</p> <p class="ql-block">李漁去世后，其女婿沈心友主持，借“芥子園”之名編纂出版的《芥子園畫傳》，這套畫譜系統(tǒng)整理了中國畫的技法與圖式，成為此后三百多年中國畫啟蒙的“標(biāo)準(zhǔn)教材”，影響遠(yuǎn)超園林本身?！敖孀訄@”由此升華為一個(gè)中國藝術(shù)教育與文人美學(xué)的標(biāo)志性符號。“芥子園”因此超越了物理空間，成為李漁生活美學(xué)精神的代名詞——一種在有限中創(chuàng)造無限、在世俗中經(jīng)營詩意、將生活全面藝術(shù)化的理想境界。</p> <p class="ql-block">After Li Yu’s death, his son-in-law, Shen Xinyou, took charge of compiling and publishing the “Jiziyuan Painting Manual” under the name of “Jiziyuan Garden.” This collection systematically organized the techniques and patterns of Chinese painting, becoming the “standard textbook” for the education of Chinese painting for the next three hundred years. Its influence extended far beyond the garden itself. “Jiziyuan” thus evolved into a symbol of Chinese art education and literary aesthetics. It transcended physical space and became synonymous with Li Yu’s philosophy of life aesthetics – a vision of creating infinite possibilities within limitations, cultivating poetry in the mundane, and fully artisticizing life.</p> <p class="ql-block">時(shí)光流逝，園林尋夢。她一身柳色戲衣立于橋階，折扇半收，恰好接住一斜秋陽——眉目間戲妝猶在，還蓄著方才戲里的溫軟。李漁說“衣以章身，不貴麗而貴雅”，這柳色襯著秋光，便是“雅”字最恰好的注解。我們早已慣于屏幕間流轉(zhuǎn)的快，此刻望著她，卻忽然貪戀起這一晌戲外的慢。原來時(shí)光是可以這樣揉進(jìn)衣袂、染上秋陽的，心也跟著輕了，輕得似折扇上那一縷拂過的，輕巧又溫柔的秋風(fēng)。</p> <p class="ql-block">Time passes, and one dreams of the gardens. She stands in a willow-colored costume on the bridge’s steps, her fan half-closed, perfectly catching a slanted autumn sun. The makeup on her face still lingers, retaining the warmth and softness from her previous performance. Li Yu once said, “Clothing should enhance one’s appearance, not by being flashy but by being elegant.” This willow-colored attire, set against the autumn light, perfectly embodies the essence of “elegance.” We have grown accustomed to the swift movements on screens, but now, gazing at her, we suddenly yearn for the leisurely pace of life beyond the performance. It turns out that time can be woven into one’s attire and dyed with the hues of autumn sunlight. The heart becomes lighter, light as the gentle breeze that brushes past the fan, light and tender.</p> <p class="ql-block">指尖觸到柳絲的剎那，水袖隨風(fēng)舒展，軟軟地漾開，如一瓣云輕輕化在風(fēng)里。她抬眼時(shí)，秋光漫過鬢邊珠翠，竟把那一抹涼沁沁的柳色，也焐出了戲文般的溫軟。李漁曾寫：“柳貴垂，不垂則可無柳?！边@垂絲依依，便是最天然的趣致。我們慣于在樓宇間衡量分秒，此刻見她指尖那輕輕一碰，忽然醒覺——原來“自在”從不需籌劃，是心隨著柳枝，隨風(fēng)，微微地晃了一晃。</p> <p class="ql-block">The moment her fingertip touched the willow silk, the water sleeves unfurled with the wind, gently spreading out like a delicate cloud drifting in the breeze. As she raised her eyes, the autumn light cascaded over the pearls and jewels on her hairline, transforming that faint shade of willow green into something warm and soft, akin to a theatrical performance. Li Yu once wrote, “Willows are beautiful when they droop; if they don’t, they cease to be willow trees.” This gentle swaying of the willow branches is the most natural of charms. We are accustomed to measuring time and moments within the confines of buildings. But upon witnessing her fingertip’s light touch, we suddenly realized – that “freedom” does not require planning. It is as if her heart follows the willow branches, drifting with the wind, gently swaying.</p> <p class="ql-block">她攏袖立在橋心，身后的苔痕與秋樹便都靜成了背景——戲畢的松泛融著秋意，連衣擺繡紋里的花，也似剛從戲中探身，沾了滿衣的園光。李漁說“取景在借”，這橋、這樹，原是借了她眸中的余韻，才成了此刻畫里的詩。我們總攜一身瑣碎行色，卻忽被這畫面溫柔裹住——原來戲里的夢與戲外的秋，真能把人心深處那點(diǎn)倉皇或者說是一點(diǎn)“慌”，輕輕熨作一片妥帖的寧靜。</p> <p class="ql-block">She stood with her sleeves gathered, standing at the center of the bridge. The moss stains and autumn trees behind her had become mere backdrops – the pine trees, after the play had ended, exuded a sense of autumn. Even the flowers embroidered on her dress seemed to have just emerged from the play, their petals dusted with the light of the garden. Li Yu said, “The beauty of a scene is derived from its surroundings.” This bridge and these trees were originally shaped by the lingering impressions in her eyes, making them a poetic depiction in this moment. We often carry with us the burdens of everyday life, but suddenly find ourselves enveloped in the gentle warmth of this scene. It turns out that the dreams within the play and the autumn outside the play can indeed gently smooth away the sense of panic or “fear” that resides deep within our hearts, transforming it into a serene tranquility.</p> <p class="ql-block">戲臺檐角挑著秋陽，“粉墨長生”的匾額浸在光里——她攏袖立在臺心時(shí)，恰好應(yīng)了李漁“戲臺宜精不宜闊”的講究，窄窄一方天地，偏盛得下《游園》里的姹紫嫣紅。此刻她未開腔，眼尾那點(diǎn)戲妝的柔，正像戲詞里“沒揣菱花，偷人半面”的怯，連指尖都攥著“步香閨怎便把全身現(xiàn)”的羞。裹著現(xiàn)代人藏在奔波里的、對“慢下來”的貪念。</p> <p class="ql-block">The eaves of the stage are adorned with the rays of autumn sunlight. The plaque bearing the inscription “Painted Life Eternal” is bathed in light. As she stood with her sleeves gathered at the center of the stage, it perfectly aligned with Li Yu’s principle that “the stage should be refined rather than spacious.” In this narrow space, the vibrant colors of “Visiting the Garden” could flourish. At this moment, she had not yet spoken, but the gentle hint of theatrical makeup on the corner of her eyes mirrored the timidity expressed in the lines, “Unable to gaze into the mirror, I steal a glimpse of another’s face.” Even her fingertips felt the shame of “revealing one’s entire self in the fragrant boudoir.” It was a manifestation of the modern desire to slow down, hidden within the hustle and bustle of daily life.</p> <p class="ql-block">水袖一舒，便把李漁“衣袂務(wù)使相宜”的分寸揉進(jìn)了風(fēng)里——她抬臂的弧度軟得像戲詞里“云髻罷梳還對鏡”的懶，眉梢那點(diǎn)笑，是《驚夢》里“恰三春好處無人見”的嬌。水袖落時(shí)，恰應(yīng)了“翠生生出落的裙衫兒茜”的艷，連戲臺的雕紋都像沾了戲里的溫。我們看慣了倍速播放的視頻，此刻望著這展袖的慢，忽然懂了：原來美從不是搶來的，是像這水袖一樣，把時(shí)光抻成恰好的弧度。</p> <p class="ql-block">With a gentle movement of her sleeves, she infused Li Yu’s principle of “ensuring that the garments and sleeves complement each other” into the wind. The curvature of her raised arm was as soft as the languidness described in the lines “After parting my cloud-like hair, I return to the mirror.” The faint smile on her eyebrows was the delicate charm of “The Dream Awakened” where “the best of spring is unseen by anyone.” As her sleeves fell, it perfectly matched the beauty described as “the vibrant and colorful skirts and dresses.” Even the intricate carvings on the stage seemed to be imbued with the warmth of the performance. Having grown accustomed to videos played at accelerated speeds, we suddenly understood: beauty is not something that can be stolen; it is like these flowing sleeves, stretching time into the perfect curve.</p> <p class="ql-block">白袖旋成云的剎那，她眼尾的胭脂漫成了“原來姹紫嫣紅開遍”的軟——李漁說“歌舞之妙，全在容情”，這水袖的起落里，偏裹著“似這般都付與斷井頹垣”的悵，又摻著現(xiàn)代人藏了太久的“敢自在”。我們總在算“效率”和“ 結(jié)果”，此刻見她旋袖的瘋，忽然松了：原來心里的“野”，能借著戲里的“良辰美景”，在這戲臺上周旋成詩。</p> <p class="ql-block">As her white sleeves swirled into a cloud, the rouge on the corner of her eyes transformed into a soft depiction of “the vibrant colors of the world have spread everywhere.” Li Yu once said, “The beauty of music and dance lies entirely in the expression of emotions.” Within the rise and fall of these water sleeves, there lay a sense of longing akin to “all of this has been left to decay and ruin.” Additionally, it blended with the “courage to be free” that modern individuals have kept hidden for too long. We often focus on “efficiency” and “outcomes,” but now, witnessing her frenzied act of swirling her sleeves, it suddenly dawned on us: the “wildness” within her heart can be channeled through the “beautiful moments” in a play, transforming it into poetry on this stage.</p> <p class="ql-block">水袖垂落時(shí)，她眸子里還留著戲里的軟——像《驚夢》尾聲“牡丹亭上三生路”的悵，又恰好應(yīng)了李漁“收場要留余韻”的妙。她指尖輕顫，像還攥著點(diǎn)怯，眉梢卻漾著“沒揣菱花，偷人半面”的甜。我們揣著生活的瑣碎來聽?wèi)?，此刻被這凝眸撞著：原來戲里的夢從不是假的，是借這戲臺，把現(xiàn)代人心里的空，輕輕填成了妥貼的暖。</p> <p class="ql-block">As her water sleeves drooped, her eyes still retained the softness of the play – akin to the melancholic ending of “The Peony Pavilion: The Path of Three Lives” in “Amazing Dream”. This perfectly aligns with Li Yu’s wisdom that “the conclusion should leave a lingering impression”. Her fingertips trembled slightly, as if still clutching some timidity, yet her eyebrows exuded the sweetness of “not gazing into the lotus mirror, but stealing a glimpse of someone’s face”. We listen to the play with the trivialities of life weighing heavily on us. Now, our gaze is struck by this moment: it turns out that the dreams within the play are never false; rather, they use this stage to gently fill the emptiness within modern hearts with a comforting warmth.</p> <p class="ql-block">苔痕漫過石橋的紋路時(shí)，秋意已悄悄在石縫里結(jié)了霜——這是芥子園戲散后的余韻，連欄桿上的雕紋，都浸著剛落罷的戲腔軟意。李漁說“園亭之妙，在虛中有實(shí)”，此刻這空石橋恰是“實(shí)”里的留白，風(fēng)一吹，便漾開滿院的清寂。我們這些裹在現(xiàn)代煙火里的人，站在這舊石前忽然懂了：原來“閑”不是空，是戲散后，能接住這天地間的靜。</p> <p class="ql-block">As the moss-like stains spread over the patterns on the stone bridge, autumn had already subtly frozen within the crevices of the stone – this is the lingering aftertaste of the performance at Jiziyuan. Even the carvings on the railings are imbued with the lingering softness of the recently concluded play. Li Yu remarked, “The beauty of gardens and pavilions lies in the interplay of emptiness and reality.” At this moment, the empty stone bridge serves as a blank space within the “reality,” and when the wind blows, it spreads throughout the courtyard, filling it with tranquility. As individuals wrapped in the hustle and bustle of modern life, we stood before this ancient stone and suddenly understood: “Idleness” is not mere emptiness but the ability to embrace the stillness of the world after the performance has ended.</p> <p class="ql-block">秋日芥子園，恰是李漁“宜簡不宜繁，宜藏不宜露”的注腳。疏影斜落，葉息輕悄，時(shí)光靜默。青衫素帕，衣紋褪盡繁飾，只留形影相語。廊間天光漏下，輕撫衣衫上的繡紋，如秋風(fēng)在素箋留痕。紋由此隱，融入光、石、苔色之中，藏非消失，是與萬物共呼吸；簡非空無，是在留白處聽見回音。芥子納須彌，于此方寸間，李漁的哲思成了可步入、可欣賞的景。每一處收斂，皆拓出一片精神的山水。</p> <p class="ql-block">The Autumn Garden of Mustard Seed is the perfect illustration of Li Yu’s philosophy: “It is better to be simple rather than ornate, to be concealed rather than exposed.” The sparse shadows fall gracefully, the leaves rustle softly, and time stands still. In this setting, the green robe and plain scarf reveal the fading of intricate patterns, leaving only silhouettes to converse. The light from above trickles through the corridors, gently caressing the embroidery on the garments, akin to the autumn wind leaving traces on a plain scroll. The patterns fade into the background, blending with light, stone, and moss color, concealing rather than disappearing; they share a breath with all things. Simplicity is not emptiness but rather the presence of echoes in the empty spaces. The Mustard Seed Garden encapsulates Li Yu’s philosophical insights, making them accessible and beautiful to behold. Every restraint reveals a realm of spiritual landscapes.</p> <p class="ql-block">倚欄的身影，是將“借景”的妙諦化入呼吸的靜默。不必招攬滿園秋色入畫，只教檐角垂落的一隙陰影、天邊淡入的一痕草木，輕輕染上衣襟袖口，作了這身戲服最天然的襯色。人便這樣立著，不爭一草一木的生意，不奪一光一影的韻律，仿佛是從粉墻的斑駁里、從磚縫的青苔間、從歲月的淡墨中，自然而然生長出來的——一點(diǎn)淡影，半幅清韻。小景之中見得天地，方寸之間，已蓄滿無聲的深遠(yuǎn)。</p> <p class="ql-block">The figure leaning against the railing has transformed the profound essence of “borrowing scenery” into the silent tranquility of one’s breath. There is no need to capture the entire autumn landscape within the painting; merely the faint shadow cast by the eaves and the faint outline of vegetation in the sky, gently coloring the garments’ sleeves and collars. This serves as the most natural backdrop for the attire. The person stands thus, not vying for the beauty of a single blade of grass or a single tree, nor seeking to dominate the rhythm of light and shadow. It seems as if they have naturally grown from the intricate patterns on the pink walls, the moss between the bricks, and the subtle strokes of time – a faint shadow, a half-transparent grace. Within this small scene, one can see the vastness of the world; within this small space, there is already a profound silence.</p> <p class="ql-block">攏袖的弧度間，藏著“態(tài)為先，色次之”的通透。淺妝由青衫托住，釵環(huán)簡凈，卻不及手腕一轉(zhuǎn)、指尖一舒間的婉轉(zhuǎn)。姿態(tài)自有語言——那舉止深處的活趣與生動，勝過所有華飾。這恰似芥子園的布局：以小見大，于秋日靜謐中，戲韻與園景天然交融。每一處停頓、斂袖，都成了畫中留白的筆法，說不盡、道不完的，全是東方美學(xué)的含蓄情致。</p> <p class="ql-block">The curvature of the sleeves conceals the principle of “attitude first, appearance second.” The light makeup is supported by a green robe, with simple hairpins and jewelry. However, it pales in comparison to the gracefulness conveyed through a mere twist of the wrist or a gentle movement of the fingertips. Posture itself speaks a language – the liveliness and vitality hidden within one’s movements surpass all external embellishments. This is akin to the layout of Jiziyuan: To see the big picture from small details, in the tranquility of autumn, the playfulness and harmony of the garden seamlessly blend together. Every pause and movement of the sleeves becomes a brushstroke of white space in the painting, embodying the subtle charm of Eastern aesthetics that cannot be fully expressed.</p> <p class="ql-block">現(xiàn)代人沉浸于昆曲《游園驚夢》，從唱腔的流轉(zhuǎn)、詞句的凝練到身段的舒卷，皆可收獲超越觀賞的心靈滋養(yǎng)——心因此定，神由此靜，情得以柔，而生命內(nèi)在的力量，亦悄然生長。那水袖一拂、眼波一送的韻律，仿佛將人引向一個(gè)呼吸放緩、時(shí)光舒展的境地。這不僅是藝術(shù)的欣賞，更是一場久違的身心回歸：在程式之美中尋得專注，在含蓄之美中學(xué)會沉淀，最終，在至柔的韻律里，遇見至韌的自己。</p> <p class="ql-block">Modern people are captivated by the Kunqu opera “Dreaming in the Garden.” From the fluidity of the singing style, the concision of the lyrics, to the graceful movements of the body, one can gain profound spiritual nourishment that transcends mere viewing—the heart becomes calm, the spirit peaceful, emotions gentle, and the inner strength of life quietly grows. The rhythm of the water sleeves being waved and the eyes sending out waves seems to lead one into a state where breathing slows down and time unfurls. This is not merely an appreciation of art; it is a long-awaited return of the mind and body: finding focus within the beauty of form, learning to settle within the beauty of restraint, and ultimately, encountering one’s resilient self within the gentle rhythms.</p> <p class="ql-block">李漁與現(xiàn)代人，芥子園和現(xiàn)代空間，游園驚夢與現(xiàn)代音樂等有何關(guān)聯(lián)和借鑒，正觸及了古典美學(xué)穿越時(shí)空的核心價(jià)值。李漁的哲學(xué)、芥子園的實(shí)踐，與《游園驚夢》的意象，為苦悶、焦慮的現(xiàn)代人，提供了一套珍貴的心靈解藥與生活啟示：既有空間美學(xué)，于“芥子”中見“須彌”，又有時(shí)間哲學(xué)，于“驚夢”中覓“出神”。既有自主姿態(tài)，以“藏”與“簡”修心，又有生活藝術(shù)化，將“尋美”落實(shí)為日常。</p> <p class="ql-block">What are the connections and lessons between Li Yu and modern individuals, Ji Zi Yuan and modern spaces, Yuanyuan Jing Meng and modern music, and how do they touch upon the core values of classical aesthetics transcending time and space? Li Yu’s philosophy, the practices of Ji Zi Yuan, and the imagery of “Yuanyuan Jing Meng” offer a precious set of remedies for the troubled and anxious modern individual, providing insights into the mind and life: it encompasses spatial aesthetics, where “Ji Zi” reveals “Su Mi,” as well as temporal philosophy, where “Yuanyuan Jing Meng” seeks “out of the ordinary.” It includes a sense of autonomy, cultivating the mind through “concealment” and “simplicity,” as well as the artisticization of life, translating the pursuit of beauty into everyday practice.</p> <p class="ql-block">空間美學(xué)：于“芥子”中見“須彌?！敖孀与m小，能納須彌?！苯孀訄@是物理空間的微型化與意境空間的無限化。它啟示我們，美與境界不取決于面積與奢華，而在于設(shè)計(jì)與用心。我們不一定擁有園林，卻可營造 “精神上的芥子園”，一個(gè)陽臺的綠意、一面墻的書架、一盞燈的光暈，只要經(jīng)過巧妙構(gòu)思與情感投入，便能成為安頓身心的“須彌山”。將窗外光影、四季變遷引入生活，拓展心靈的疆域。</p> <p class="ql-block">Spatial Aesthetics: Discovering the “Mount Sumeru” within the “Lesser Sphere”. Although the Lesser Sphere is small, it can contain the Mount Sumeru. The Lesser Sphere Garden represents the miniaturization of physical space and the infinitization of imaginative space. It teaches us that beauty and realm are not determined by size and opulence, but by design and attention to detail. We may not necessarily own a garden, but we can create a “Lesser Sphere Garden of the Spirit” – a balcony filled with greenery, a bookshelf on a wall, the glow of a lamp. With careful planning and emotional investment, these elements can become “Mount Sumeru”s for calming the mind. Bring the light and shadows outside, as well as the changes of seasons, into your life to expand the boundaries of your soul.</p> <p class="ql-block">時(shí)間哲學(xué)：于“驚夢”中覓“出神”?！队螆@驚夢》中的這場夢，它代表一種高度專注、物我兩忘的心流狀態(tài)。我們被碎片化的“屏幕時(shí)間”和功利的“效率時(shí)間”填滿，唯獨(dú)稀缺“審美時(shí)間”。游園賞秋的本質(zhì)，是主動創(chuàng)造一次驚夢，將全然的身心交付于一片秋色、一段曲韻、一次安靜的漫步。這片刻的出神，不是逃避，而是精神的吸氧與重整，用以對抗現(xiàn)代性帶來的持續(xù)焦慮與意義感缺失。</p> <p class="ql-block">Time Philosophy: Seeking “Transcendence” in “Amazing Dreams”. This dream in “Amazing Dream in the Garden” represents a state of highly focused, self-forgetful mental flow. We are filled with fragmented “screen time” and utilitarian “efficiency time,” yet we lack the precious “aesthetic time.” The essence of enjoying autumn in the garden is to proactively create an amazing dream, surrendering one’s entire being to the beauty of autumn, the melody of a song, and a peaceful stroll. This brief moment of transcendence is not about escape but about oxygenating and reorganizing the spirit in order to counteract the persistent anxiety and sense of meaninglessness brought about by modernity.</p> <p class="ql-block">自主姿態(tài)：以“藏”與“簡”修心?！耙瞬夭灰寺丁笔侵t遜的智慧，“宜簡不宜繁”是選擇的藝術(shù)?！皯B(tài)為先，色次之”，則強(qiáng)調(diào)內(nèi)在氣質(zhì)遠(yuǎn)重于外在裝飾。在一個(gè)鼓勵(lì)展示、崇尚繁復(fù)、信息過載的時(shí)代，這套哲學(xué)是教我們在表達(dá)上追求含蓄的深度，而非喧囂的曝光； 在消費(fèi)上崇尚簡約的質(zhì)感，而非符號的堆砌；在處世中修養(yǎng)從容安定的“態(tài)”，取代匆忙浮躁的“秀”。幫助我們找到更真實(shí)、自足的生活節(jié)奏。</p> <p class="ql-block">Autonomous stance: cultivate one’s mind through “concealment” and “simplicity”. “It is better to conceal than to reveal” embodies the wisdom of humility, while “it is better to simplify than to overcomplicate” represents the art of selection. “Appearance comes first, color follows.” This emphasizes that an individual’s inner character is far more important than external adornments. In an era that encourages display, venerates complexity, and is plagued by information overload, this philosophy teaches us to strive for the profound restraint of expression rather than the cacophony of exposure; to cherish the simplicity of quality in consumption rather than the clutter of symbols; and to cultivate a composed and serene “demeanor” in dealings with others, replacing hurried and restless “showmanship.” It helps us find a more authentic and self-sufficient rhythm of life.</p> <p class="ql-block">生活藝術(shù)化：將“尋美”落實(shí)為日常。李漁將美學(xué)從理論延伸到造園、服飾、儀態(tài)、娛樂，讓美滲透于衣食住行的每一個(gè)細(xì)節(jié)。我們常將“美”供奉于殿堂，或?qū)ⅰ靶蓍e”等同于消費(fèi)。尋美可以是精心搭配一件衣裳的雅趣，可以是午后品一盞茶時(shí)的專注，也可以是上班路上對一樹光影的會心一瞥。當(dāng)我們有意識地將這些瞬間儀式化、審美化，便是在日常中，時(shí)刻體驗(yàn)“游園驚夢”般的詩意光彩。</p> <p class="ql-block">Artistic Living: Translate “seeking beauty” into daily practice. Li Yu extended aesthetics from theory to gardening, clothing, demeanor, and entertainment, allowing beauty to permeate every detail of daily life, from food and shelter to living arrangements. We often venerate “beauty” in sacred halls or equate “l(fā)eisure” with consumption. Seeking beauty can be the delightful pleasure of carefully selecting an outfit, the focus during a leisurely afternoon sipping tea, or the momentary appreciation of a tree’s light and shadow on the way to work. By consciously ritualizing and aestheticizing these moments, we can experience the poetic splendor akin to “surprising dreams in a park” in our daily lives.</p> <p class="ql-block">古典的美學(xué)旨趣與園林戲曲，并非塵封的標(biāo)本，而是映照現(xiàn)代困境的明鏡與可深挖的礦藏。我們要把生活視為一座可以精心營構(gòu)、悠然游賞的“園林”，每個(gè)人都是自己生活“園林”中的“李漁”，需要以“借景”的智慧利用環(huán)境，以“藏簡”的哲學(xué)管理心緒，以“驚夢”的專注滋養(yǎng)靈魂。把被現(xiàn)代生活壓得扁平的時(shí)空，重新活成立體、有韻味的場景，這或許是我們這個(gè)時(shí)代，最為稀缺又最為重要的一種“自救”。</p><p class="ql-block"> </p> <p class="ql-block">The classical aesthetic principles and the art of garden theater are not relics of the past but rather mirrors reflecting the modern predicament and valuable resources waiting to be explored. We should view life as a meticulously crafted and leisurely to be enjoyed “garden,” where each individual is like Li Yu from their own “garden,” needing to utilize the environment with the wisdom of “borrowing scenery,” manage one’s emotions with the philosophy of “concealing simplicity,” and nourish one’s soul with the focus of “startling dreams.” By bringing the flat, monotonous spaces and times of modern life back to life as three-dimensional, evocative scenes, this may be one of the most scarce and essential forms of “self-help” in our time.</p> <p class="ql-block">編輯：倪捷兒 文字：倪捷兒 出鏡人：倪捷兒 攝影：千喜 視頻：千喜 化妝：金金 參考資料：閑情偶寄等書籍 審讀：鄢祖鋒 拍攝時(shí)間：2025年深秋 拍攝地點(diǎn)：蘭溪芥子園</p> <p class="ql-block">Editor: Ni Jie’er Writer: Ni Jie’er Presenter: Ni Jie’er Photographer: Qianxi Video Producer: Qianxi Makeup Artist: Jin Jin References: “Leisure Moments” and other books Reviewer: Yan Zu-feng Filming Date: Late Autumn 2025 Filming Location: Lanxi Jiziyuan</p> 精河县|
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